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And I tell everyone: what? Where? this.. Yes, there is nothing like that! You see, the point is that nothing can be understood. And one woman, namely my mother, she is 84 years old, I met her today, said so, she formulated it in a brilliant way: “They say what they want. But what about it? ” That is, there is a need for an ideal, for an ideal answer, or for ideal, well, not crutches, but at least in some moments…
The fact is that I see in this the greatest need, and it is like the course of time, a certain course of life, that the little one asks the big one, but here you are completely in the wrong, because I am even smaller than you! My consciousness is even smaller, it is similar to the consciousness of my mother, who is 84 years old, and she also fell into childhood, she asks: “How is it necessary?”: “Can we install counters for you, put in plastic windows, and generally make you a new liver along with your spine?”
The fact is that now humanity has turned into a purely physiological function, and aesthetics is superimposed on physiology-like the world's poetry, literature, cinema, everything else, it is superimposed on physiology. Roughly speaking, if there is a good mood, for example, the state of falling in love — something that is close to you, and sometimes it is close to me even, a little wise. In this case, it is more difficult for me to talk about love, because it is already somewhat stamped for me, turned into some kind of state.
Therefore, if we talk about Question (this point is also very important for the play, for understanding the worldview), such an abundance of questions and your hope for answers is important, it is connected with art as such, because in art, where there is neither modern nor classical, dialogue is very important when you communicate with a work of art and ask it the question ” why?” In fact, the question-answer is a very important moment of the worldview, attitude: question-answer, question-answer, question-answer. And then suddenly there is a rhythm, as if benyaminovsky soulless rhythm of the technogenic flow of questions as such. They can be random.
And generally random aesthetics. I was thinking about where Question should go — towards absurdization, not classification of life, but jumping out. That is, rather. It is always very pleasant to catch this moment. I just had an article like this: “Grab and it's done!” And so I always explain: where to grab? Only in myself. So, of course, it is not necessary to get attached, to get attached to anything, and within these questions, for example, it is pleasant to have this state when there is an era of asking questions and an era of absolutely no questions. And when we get a non-questioning epoch, an immanent epoch, an epoch as if without the need for questions: we say to them, and then the question arises: “please tell me, yes?” Interrogative intonation.
What does this mean? Of course, about the fear of death: and what is there, and what is there, this infinity, on, on, on the planet. But what about the Solar system in the classical sense, in 3D, they rotate there… Therefore, in general, the state of the question is very important, because even the interrogative function of a sexy woman, when she opens her legs and arms, is a question, a question! And it requires an answer, and how to answer, right? And here a very interesting situation arises: and maybe answer a question with a question? But in the Russian tradition, this is called the Jewish question.
In fact, I study applied philosophy. Asking a question is a very good technique.
I'll explain it to you now. So, a woman came up to me today in the subway, she's sitting in a hood, with some stick on duty. And she says: “You think I didn't recognize you? And I've been following you for the third day, because I have a sharpened perception.” That is, she even pre-empted, that is, she answered my question. And this is, of course, a dialogue. And she asked: “And how to live on?” And I answered her: “You know, look, in life there is such a good thing. And after good, of course, comes bad.” And if you feel bad now, for example, it happens, and then it will be good, but this is of the first order. The most important thing is to be prepared for the bad.
And that's what we can talk about. So we're talking about some super-tasks, right? That is, earlier it was understood as a super-task – the answer of an enlightened person, that is, the search for harmony, the philosopher's stone, like all the madness of the world, the number of questions that revolve, argue with each other, argue with each other all the time, and at the same time turn into some kind of mass, question-and–answer. And how to deal with it? So I answered her: “The most important thing is to be prepared for both the good and the bad.”
And you can work on this, of course.
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